Storms Over Glastonbury

How a news story about foreign interests was stolen by other foreign interests

Bob Vylan are a Black punk band from Ipswich, comprising two men each going by the same pseudonym, one “Bobby” and one “Bobbie”.

Bobby’s real name is Pascal Robinson-Foster. He was born in Ipswich to a White mother and an (absentee) Black father in 1991. (The same year saw the founding of the United Talent Agency which many years later would represent him.) Having been born in Britain, he is, according to both left-wing progressivism and right-wing civic nationalism, “truly” British. In 2005, when he was just fourteen, the Black & Asian Police Association invited him to perform his “slam poetry” at their conference. He claims to have been signed at some point to a record label headed by a bald Jewish man (possibly Paul Samuels) who frequently told him of his Zionism, though the only label he seems to have released anything on (except for his own) is Venn Records.

In 2017, Robinson-Foster and his friend founded Bob Vylan and their own label, Ghost Theatre. The band was promoted by the United Talent Agency, founded and run by many Jews. They would have known exactly what they were getting: two Black men who would reliably rail against England, White people, the police, the British Empire, and of course “racism”. In this signing, there are echoes of well-worn anti-Semitic tropes about the music industry.

Bob Vylan are by no means a famous band. They have performed at several festivals, including Glastonbury in 2022 and 2025, but are otherwise obscure. (However, they’re not so obscure that Sadiq Khan, Muslim mayor of London, isn’t following them on X.)

The Telegraph describes Bob Vylan’s career and quotes many of their lyrics. Curiously unmentioned is a song they performed two days ago at Glastonbury, I Heard You Want Your Country Back.

The song was first released in February 2021, at perhaps the very height of the BLM craze post Summer of Floyd. The lyrics:

[Chorus]
I heard you want your country back
Shut the fuck up
I heard you want your country back
Uh-uh, you can’t have that
I heard you want your country back
Shut the fuck up
I heard you want your country back
Well shit, me too

[Verse]
You stole it right outta my hands
And pulled the rug right under my feet
I’m Nat Turner meets Nat King Cole
A well-dressed brother with a revolution in my soul
We the people in the street
Got the gammons on retreat
And their blood boils over when we speak
So let it be heard
We ain’t wasting a scrap when we eat
And when we comе for it then we’re coming to keep

[Chorus]

[Breakdown]
I heard you want your country back
Shut the fuck up
I heard you want your country back
Uh-uh, you can’t have that
The only place I know
Stolen right under my nose
By ignorant scum
Tryna lay claim to a land that ain’t theirs anyway
Wait - what did you say?

[Chorus]

This anti-white, anti-English song was performed in front of a backdrop which claimed “this country was built on the backs of immigrants”.

Tickets to Glastonbury (a gated festival) cost £380 each this year, so it attracts a very middle-class, one suspects university-educated, milieu. It is also an extraordinarily White milieu. These people watched this performance and sang along, looking gleeful at the prospect of the “gammon” being relieved of their country, while also being “proven” not to have built their country in the first place.

The dregs of the Millennial generation: wine aunts and cat ladies, SSRI poppers, crazed bitter feminists, and future suicide cases

Let us outline what a sane country would do with Bob Vylan for recording and releasing this song, let alone for performing it to a crowd of many thousands being broadcast on live TV. The two men would be given a choice:

Apologise to the British people, or go to prison for ten years. And either way, you are getting deported.

That would be justice. That would be the treatment that the native British deserve these men to get after they insulted and mocked them.

Let it be remembered that this song is no anomaly. Bob Vylan have recorded other songs of the same ilk. Neither was it a new song needing exposure; it was a gem from their back catalogue that they specifically chose knowing that it would be broadcast to the general British public.

It is bad enough that these two non-natives feel free to do this. It is even worse that, having done so, they are rewarded with adulation from throngs of middle-class White people. But it gets much worse still.

During the performance, Robinson-Foster’s “stage banter” included speaking about his Zionist former record label boss, before leading the crowd in a chant against the IDF.

Afterwards, with controversy erupting, he and his bandmate gloated on Instagram:

To be clear, I don’t care about this. Popular music, including unpopular bands like this shit-tier effort, has always been political. It should not surprise or outrage anyone when a band make political statements, even if you disagree with them or find it all rather overbearing. It happens. I also don’t care about the wellbeing of a foreign army, so even when someone chants “death to the IDF”, I don’t feel indignation. This is even more the case when said army has been engaged in very questionable operations in Gaza for nearly two years, in which they have inflicted appalling injuries, including maiming small children. That is not an army I care to defend. I would even agree with the lefty progressives that it brings shame upon Britain to defend or assist the IDF’s behaviour in Palestine. So I am not outraged by Bob Vylan opposing any of this.

What I am outraged by is that the British media and chatterati, in responding to this performance, focussed solely on the anti-IDF (therefore anti-Zionist, anti-Semitic, and “Jew-hating”) antics and completely ignored the performing of an entire song against the native British. To read the news coverage, you wouldn’t even know the song existed. To read the Wikipedia coverage, likewise. (A mention was added to that article but got removed!)

Of the news coverage, this Independent article is a good example. Another, in the Telegraph, was by Jake Wallis Simons. He is Jewish. For him, the anti-white song is unimportant - even though he is writing in a British newspaper for a (vastly) White British readership. He expects them to prioritise his group over their own. In fact, he expects them to prioritise the army of a foreign country over their own existence.

We can understand Simons’ bias. Going by the concerns he expresses in his article, he clearly has overwhelming loyalty to Israel and does not identify with the native British. That is understandable. What is much more egregious is his priorities being held by commentators who are not Jewish, people who are native British. The centre-right is full of people like this. They called for Bob Vylan to be prosecuted, their agency to drop them, and the BBC to be investigated or even summarily abolished for broadcasting them.

The claim is that, by chanting “death to the IDF”, Bob Vylan were inciting violence. Are there many IDF soldiers in Britain to be killed? Are there many Glastonbury attendees visiting Israel to kill them? As Daniel Hannan (not someone I admire) pointed out, this was a very neutered incitement to violence since it is extremely unlikely to incite any actual violence. By contrast, the replacement of the native Brits is a real and on-going process happening all around us here in this country, so celebrating it (as Bob Vylan did) is far more incendiary, and certainly should be for us. However, like every other centre-right pundit, Hannan doesn’t mention the anti-white song. And in any case, his libertarianism compels him to tolerate all of this as “freedom of speech”. (As ever, conservatives fail to step up to the plate.)

But Hannan is alone in this nonchalance. Most of his fellows on the centre-right are foaming with rage at Bob Vylan for criticising Israel and at the festival-goers for chanting along. They say that these progressive lefty peacenik crowds are “Nazis”.

This tweet by Laurence Fox was perhaps ironic, but countless similar tweets, including by many Jews, were not

The thinking here is that Nazis hated the Jews and these festival-goers do as well. After all, you would only object to the actions of an army if you “hated” the ethnic group it represents, right? This is all so retarded that one struggles to believe intelligent people are actually saying it. These festival-goers are Nazis, even while they cheer on their own ethnic dispossession? Apparently any contradictions are sustainable if they bolster Zionism and fortify Jewish solidarity.

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But there are glaring contradictions on the lefty side as well. For example, how do they imagine they are allowed to decry White people, if White people dominate society? As for how they can defend Palestinians from dispossession while celebrating that very thing happening to themselves, that was explained by another act at Glastonbury this year: Australian band Amyl & the Sniffers. In the most braindead stage banter known to man, their singer Amy Taylor explained that to consider the plight of the Palestinians is to consider the plight of Australian aborigines. She expounded: “Us as whiteys, we’re the fuckin’ colonisers!” It is clear: she considers Jews to be White. Thus, her anti-Zionism is actually a perverse expression of anti-Whiteism.